byKapil Rider, Bhanu; Owen, Maureen; Patton, Julie; Schelling, Andrew
First half of a faculty reading with Banu Kapil, Julie Patten, Andrew Schelling, Steve Lacy, and Maureen Owen. Schelling reads "Crossing the seas of Saint Brendan," "Sing's chair", and "The spiral path." Lacy accompanies Schelling in performing translations of classical Indian poetry. (Continues on 01P102).
Benjamin Friedlander lecture on Paul Celan including several small papers about Celan and several translations of his work. Anselm Hollo joins the lecture midway, followed by a question and answer session.
First half of a Bernadette Mayer class on experimental techniques in writing and other arts. She reads some of the writing of Tristan Tzara, Antonin Artaud, Eric Satie, Gertrude Stein, and others, and discusses Dada, the unconscious, cut-ups, and sentence structure. (Continues on 78P082) favoritefavoritefavorite ( 1 reviews )
Second half of a Bernadette Mayer class on experimental techniques in writing and other arts. She reads some of the writing of Tristan Tzara, Antonin Artaud, Eric Satie, Gertrude Stein, and others, and discusses Dada, the unconscious, cut-ups, and sentence structure. (Continued on 78P081)
A Bernadette Mayer class with readings from the works of Michael McClure, Michael Brownstein, and Jack Collom, discussions on Ted Berrigan, Shakespeare, Dante, Gregory Corso, Nathaniel Hawthorne, Herman Melville, Gertrude Stein, William Carlos Williams, Louis Zukofsky, Albert Einstein, Walt Whitman, Allen Ginsberg, John Milton, Anne Waldman, and Frank O'Hara. Mayer also covers some of her own work in this class. Topics: New American Poetry, New York School
Bernadette Mayer gives a lecture in which she talks about her intentions relating to the books she has published to this date. Her overall purpose is to explain the structure and processes she used for putting together her creative books. She reads selections from Utopia and Sonnets, and mentions her two non-fiction prose works, Handbook of poetic forms and Art of sciene writing. The creative books she discusses are: Story, Ceremony Latin 1964, Moving, Memory, Studying hunger, Poetry, Euruditio...
Second portion of a Bernadette Mayer workshop on language poetry. The class reads some pieces by Charles Bernstein, Clark Coolidge's "Notes on Larry Eigner," Jackson McLow and selections out of the magazine Big Allis, including a piece by Dorothy Trujillo Lusk. The class then begins to read their personal language poetry pieces and discusses the new forms they have created and the background or rational for those forms. The class is continued on 89P092 and is part of a series with...
This is the final part of a class that began on 89P091. In this portion of the class students read their crafted poems and discuss their attempts at new form which range from writing and pronouncing words backwards to etymology to using card game instructions to write a poem. The class does begin with an interesting conversation on memory and Giordano Bruno that is a digression from the rest of the content. Series includes 89P075 and 89P092.
Second half of a Bernadette Mayer, Bill Berkson and Lewis Warsh reading. Warsh reads "Quarter to four," "Footnote," "Afternoon in October," "Stolen words," Walking through air" and other poems. (Continued from 78P101B)
First half of a Bernadette Mayer, Bill Berkson and Lewis Warsh reading. Berkson reads "From a childhood," "Dangerous enemies," "Roots," "Levantine," "Camera ready like a dream," "Duchamp dream," "Space dream," "Mother's mother," "To Lynn," "Breath," "Marco Polo," "Christmas Eve," "Negative," "The living brain," "Wake-up call" and other poems....
Experimental female writers Bernadette Mayer, Carla Harryman, and Rikki Ducornet reading. Each artist reads a selection of experimental work ranging from novels to poetic collaborations. (Continues on 93P084B)
A class taught by Bill Berkson at the Naropa Institute June 19, 1978. For the first part of the class Berkson focusses on the work of John Ashbury, reading and discussing his work. For the second part of the class, Berkson focuses on the work of W.H. Auden and William Carlos Williams. This is class 1 of 2.
A class, "Transmitting," taught by Bill Berkson at the Naropa Institute June 21, 1978. Among the various topics covered in Berkson's lecture: D.H. Lawrence, Rudy Burkhardt, Willem de Kooning, Clark Coolidge, John Cage, Alex Katz and Charles Reznikoff. Berkson also reads and discusses his poem "Negative." This is class 2 of 2.
A Bill Berkson class on poetics, focusing on the work of Frank O'Hara and other poets of the New York School. He reads portions of O'Hara's book Second Avenue and looks at the importance of place in poetry. Berkson talks about European influences on poets in New York, the influence of movies on O'Hara, and other aspects of the poetry of the New York School writers, including their influence on his own work.
Bill Berkson lecture on Joe Brainard and collaboration. Distinguishing between institutional collaboration and hands-on collaboration, Berkson reviews collaborations in the 1950's and 1960's involving Brainard, Frank O'Hara, Larry Rivers, himself and others. Berkson also discusses literary criticism as a form of collaboration, and his views on intellectual property rights.
Bill Berkson reads an autobiography that he wrote for the Gale Research Company. He talks about his family, his New York City childhood, and his life as a writer and teacher, including his memories of fellow poets.
This is a fund raising event held in Boulder, CO on July 24, 2005 at the Boulder Museum of Contemporary Art to raise funds for the Naropa University Archive. Featured performers are Michelle Ellsworth, Steven Taylor, Cecilia Vicuna, and Anne Waldman.
Second half of a Bob Holman 1991 Summer Writing Program class on music, poetry, rap and spoken word. Holman is briefly interviewed by a class member, on his life and involvement with poetry. He talks about the St. Mark's Poetry Project, Nuyorican Poets Cafe, his work with Anne Waldman, and his arrival at Naropa.(Continued from 91P134)
First half of a Bob Holman 1991 Summer Writing Program class on music, poetry, rap and spoken word. Holman discusses a diversity of artists, including Was Not Was, Henry Rollins and deaf poet Peter Cook. He also addresses the problems of packaging and marketing poetry in a multimedia world. Holman shows the class a video of his production "Words in your face," featuring various poets, musicians and spoken word artists in performance. (Continues on 91P133)
A writing class by Bobbie Louise Hawkins from 1978 at Naropa Institute. In this class Bobbie explore an interdisciplinary approach to pedigogy following the motto, "Education is teaching someone how to learn for the rest of their lives." In this Bobbie does not discuss writing explicitly, but rather reads from various works, both literary and critical to create an atmosphere of indipendant exploration in learning. This is class 1 of 3.
In the class, Hawkins takes an interdisciplinary approach to the pedagogy of writing by exposing the students to a variety of writings both fictive and crititcal following the motto that 'education is teaching someone how to learn for the rest of their lives.' The discussion includes William James and experience, Colette and autobiographical writing, and reading selections from Colette's Earthly paradise. The class ends with a free-ranging conversation among the class participants. This is...
A Bobbie Louise Hawkins and Carl Rakosi reading. Hawkins reads an excerpt from her novel The Sanguin Breast of Margaret, a short piece "Work and getting on with it," and others. Rakosi reads "The new world," "The realists," "Go preach Christ," "Old hickory," "The bottom line," and others.
A short lecture by Bobbie Louise Hawkins followed by a longer lecture by Hettie Jones. Hawkins's lecture, "The quality of attention," focuses on finding one's voice as a writer and the necessary tools to do so. Jones's lecture, "Writer as witness," focuses on her life as a writer, mother, social activist and teacher.
A Bobbie Louise Hawkins lecture, The sounding word. Hawkins discusses the writings of Werner Heisenberg and his uncertainty principle, Louis Zukofsky on defining poetry, Ysaye Barnwell's views of the effect of singing on the physical human body, Paul Valery, Michael Ondaatje from his book Coming Through Slaughter, and Charles Olson on verticality.
Second half of a faculty reading at the 2004 Naropa Summer Writing Program, with Heather Ackerberg, Brenda Coultas, Joanne Kyger, and Bobbie Louise Hawkins. This is the conclusion of the event including just the end of Hawkins's final piece, which was cut off on the previous recording. (Continued from 04P008)
A reading at the Boulder Theater by Clark Coolidge and Robert Creeley with introductions by Bobbie Louise Hawkins and Anselm Hollo. The readings include Coolidge's "City in Regard" and Creeley's "So There," "O Max," "Life," "Helsinki Window," "The Seasons" and "Body." (Continues on 91p071.) favoritefavoritefavoritefavoritefavorite ( 1 reviews ) Topics: New American Poetry, beat movement, performance poetry
byGinsberg, Allen; Hawkins, Bobbie Louise; Hollo, Anselm; Waldman, Anne
A reading at the Boulder Theater with Allen Ginsberg and Anne Waldman, with introductions by Bobbie Louise Hawkins and Anselm Hollo. Included in this reading are Ginsberg's "After the Big Parade" and the first reading of "Fall of America." Waldman, Steven Taylor and Elliot Greenspan perform works from Iovis. (Continued from 91p070.) favoritefavoritefavoritefavorite ( 1 reviews ) Topics: New American Poetry, beat movement, performance poetry